A performance of the ages at Sydney’s Metro Theatre has been immortalized. Trap legends RL Grime and Baauer threw down what will likely be considered a legendary B2B in Australia’s largest city. To start things off, the electronic trap trendsetters began the set with a crowd rattling mix of Baauer’s “Harlem Shake” and RL Grime’s “Era.”
The set lasted for an hour and 40 minutes, unearthing loads of trap gold and accompanying genres while also making sure to include creative edits, crossover collaborations, and cult classics. While keeping with up-to-date hype with “Mo Bamba” by Sheck Wes or rewinding back to the electro trap glory days with Baauer’s remix of Rollup by Flosstradamus, the set was quite the holistic exploration between the two veteran electronic musicians.
Baauer has dropped a new single entitled “Company.” Paired with a video animated and directed by Jonathan Zawada — whom fans may recognize as the man behind Flume’s Skinalbum artwork — “Company” was premiered this week as Zane Lowe‘s World Record as the latest in a string of collaborative work from Baauer throughout 2018. But while he’s made appearances on a variety of work that has seen the Philadelphia artist flex his creative muscles, “Company” is his latest solo effort. Featuring intimate, future bedroom production that moves in perfect lockstep with Soleima’s featured vocals, the track evolves into a sweeping and welcoming soundscape supported by roots in R&B, hip-hop and house.
“Company” might be a one-off release, but the single adds to a year that in hindsight will surely be a year of growth for Baauer.
AlunaGeorge have released their first self-released EP entitled Champagne Eyes. The British duo made up of Aluna Francis and George Reid produced the whole release during time spent in New York City, where they made the focus of the EP to return to the sound that fueled their breakout release Body Music in 2013. Alluring, sexy beats partnered with lyrics that delve into sex, power, and the fluidity and complexity of identity have become AlunaGeorge’s trademark, further explored this time through each track on Champagne Eyes.
Featuring collaborations with R&B artists Cautious Clay and Bryson Tiller, the EP covers a dreamy swath of electronic and soulful sounds. It also sees the duo reconnect with Baauer on a track, after he remixed “Attracting Flies” off of their first album in 2014. Champagne Eyes serves as a welcome comeback for the duo as they explore their signature style in a new, more seasoned way.
It’s a brave new world for computerized pop stars, as Baauer dives headfirst into a collaboration with AI influencer, Miquela on their bizarrely genius track “Hate Me.” In an unabashedly meta affair that could only occur in 2018, the track’s themes are centered around naysayers and detractors of the digital personality’s validity. Now, a brand new music video for the song has arrived that brings these ideas to life with stunning visuals, including choreography by Jae Blaze of Kanye West’s “Fade” video fame.
The song expertly blends an upbeat Baauer beat with deceptively defiant vocals, and in many ways, the video follows suit. The two-and-a-half-minute clip is dominated by energetic choreography, with dancers holding court in a sun-washed warehouse that puts all the focus towards the movement. Carefree moments intertwine with raised fists and confidence as the dancers power the track forward. Although Miquela shows up only for a few brief cameos, her appearance offers an instant contrast between the real and the virtual.
Gammer has remixed “Dumbo Drop,” the memorable 2017 collaboration from dance music veterans A-Trak and Baauer. The duo linked for a limited run of shows and a pair of joint releases to close out the year.
The original quickly proved itself as a stunner with a underground-inspired house style and, of course, signature quirkiness and out-of-the-box thinking that we expect from both of the artists who created the track. Now, with UK bass master Gammer entering into the mix nearly a year after the track’s original release, “Dumbo Drop” has been completely transformed into a gritty, forward-thinking new track whose spitting, acidic bass is just one piece of its fascinating puzzle. The remix brings a drum and bass-inspired build up that feels like the heaviest part of the track, quickly dropping into bulldozing bass hits. It’s one that will sear into your memory.
2018 — a year where CGI-animated characters can become pop-stars and link with marquee producers insanely catchy dance tracks. What a time to be alive.
Bauuer‘s latest single “Hate Me,” featuring the digital art project turned Instagram model/musician Miquela, has been gaining steady traction since its August 17 release. The world’s bound to shake when a former viral sensation collaborates on a song with a new age social media phenomenon, so it only made sense for Baauer to circle back with his own equally intriguing VIP mix. So far, we’ve got a a cutting-edge lyric video, which was Miquela’s first moving on-screen appearance, and now Baauer’s back with his own second take spin on “Hate Me.”
Bauuer takes the quirky, upbeat pop-leaning framework of the original track and given it a buzzing VIP mix designed for club monitors. The edit is perfectly crafted to make a climactic appearance at an upcoming Bauuer performance, with looped Miquela vocals building straight into an bumping, distorted trap break. Baauer and Miquela proved to be a complementary pairing on their collaborative effort, but Baauer’s solo take might be one of his strongest outings of the year.
UPDATE: HARD has confirmed this lineup is not the official lineup
Los Angeles electronic events giant HARD recently made headlines with the return of their once defunct Day of the Dead property, bringing the festival back to its original home at LA Historic Park this November. The news set the rumor mill ablaze, speculating which HARD alumni might make their return for the festival’s re-inauguration, and now a lineup poster has surfaced. At first glance, it looks like one of the most stacked dance billings of the year, though upon closer examination, some minor fractures in the unconfirmed lineup may reveal this one is too good to be true. No harm in putting our eggs in this basket for the time being and hoping it actually materializes though.
The rumored lineup features a rare 2018 performance from Skrillex — fans might remember the last time Sonny Moore rested the Skrillex project to link up with Boys Noize for Dog Blood in 2013, Moore’s comeback performance was at none other than Day of the Dead. Boys Noize is featured on the lineup as well, and anytime Skrillex and Boys Noize are in the same hemisphere, there arises a glimmer of hope for Dog Blood fans. Gesaffelstein is tapped as a DJ headliner and a Bixel Boys reunion in the undercard are some red flags. Again, this could either be the greatest lineup of the season or a certified fake. Deadmau5, Kaytranada, Bloody Beetroots live, and Baauer all make appearances on the rumored roster as well, with a grip of additional dance music power players. For Day of the Dead’s highly anticipated return to LA, we’re betting HARD pulled out all the stops — fingers crossed this one is confirmed official.
Electric Zoo hosted its 10th edition this past weekend. While fans were blown away by the festival which is now headed by none other than Gary Richards, it seems that Brownies and Lemonade is making even more waves with their after party. On Sunday night once the festival closed up shop, hundreds headed over to
Baauer and rising Internet phenomenon Miquela exude a collaborative edge on “Hate Me.” A spunky, no-holds-barred production that confronts Miquela’s meteoric rise to online notoriety, the single’s video shuffles between images of Miquela screen grabbed from the starlet’s Instagram, and a colorful patchwork of grabby video clips of the featured vocalist. Baauer’s latest delivery comes by way of the track’s accompanying lyric video, which is also remarkably Miquela’s first moving on screen appearance.
While Miquela provides the video visuals and vocals, Baauer chips in with an eccentric, snappy trap beat that lends a grit to the unapologetic number. Baauer and Miquela’s careers bear a number of notably resemblances. Both are children of the internet who rose to viral fame — propelling Baauer to a league only otherwise occupied by Drake with 100 million streams in a week. Considering neither collaborator is a stranger to the dangerous dichotomy of internet notoriety, Baauer’s latest, “Hate Me” rides a narrow line, coming through with some considerable viral appeal of its own.
The Roland TR-808 is one of the most innovative machines in the past century of music. Only on sale from 1980 to 1983, this short span of time saw the 808 gain major influence in techno and essentially birth the early hip-hop movement, from the raw sounds of Detroit to Afrika Bambaataa‘s classic “Planet Rock.” As the sound emerged from the underground, the drum machine garnered mainstream attention with it’s use in Marvin Gaye’s “Sexual Healing” in 1982, while becoming a mainstay for hip-hop acts like Public Enemy and Run DMC. As pop music in the 80’s drifted towards a more electronic sound, the 808 was eventually adopted by everyone from Whitney Houston to Phil Collins.
Though the machine fell out of the mainstream in the 1990’s due to a lack of availability, an overuse of the sound, and east coast hip-hop’s shift to more soulful, jazzy beats, it stayed strong in US and European rave scenes while America’s burgeoning southern trap scene began to flourish and the end of the millennium. The early 2000’s saw the likes of Gucci Mane, T.I., and Young Jeezy (and their producers) utilizing the TR-808 to form rap music’s now ubiquitous trap genre.
Kanye West modernized the use of the drum machine in the 21st century on his seminal 808s and Heartbreaks, though samples of the 808 are nearly everywhere, and have been for quite some time. Eventually artists like Flosstradamus, Baauer, TNGHT, and Diplo began using the signature percussion of trap music, and a new sub-genre emerged, adding diversity to EDM’s popular dubstep/big room/progressive house dynamics. Suffice it to say the 808 has made a considerable impact on contemporary music production, so, on 8/08, join us in celebrating the Roland TR-808 Drum Machine with our 808 playlist below.